"The
midrange and high
frequencies
improved in the
same way, offering
increased
naturalness,
sweetness and
resolution. I
spent one
memorable
listening session
just listening to
the cymbal work of
Elvin Jones, Art
Blakey, and Chico
Hamilton--and
being rewarded
with deep insight
into their
respective
artistry and
style."

If
one pursues this
hobby long enough,
either as an
enthusiast or as
part of the
business (as I did
for over 25
years), one
inevitably finds
favorite designers
and favorite
companies whose
products somehow
just click with
oneís own
musical
proclivities. Roy
Gandy of Rega
Research has
consistently won
my admiration, not
only for the sonic
and musical
qualities of his
products, but also
because they are
so affordable. In
this day, when
"high-end"
has come to mean
merely
"high-priced,"
itís refreshing
to see his
products wiping
the streets
(musically) with a
competitorís
product at up to 5
times the price.
Nobody cheers for
Goliath
(especially when
over-priced), and
some of Gandyís
designs evoke
images of David in
all his
Goliath-slaying
glory.

The
Rega Planar 3,
along with its
tonearm, the RB
300, has long held
a cherished place
in my audio
hierarchy: I
consider it the
least expensive
turntable that
delivers the true
musical goods.
Through clever and
balanced
engineering and
design, prescient
manufacturing
techniques
(investing heavily
into automation
for mass-producing
the tonearms), and
letting the
productís own
merits sell it --a
refreshing
throw-back to the
days before
marketing schemes,
and artificially
inflating prices
to placate the
common distortion
of what high-end
should really
be--Gandy has
produced a truly
classic product in
the RB 300 tone
arm.

Producing
a good,
cost-no-object
design needs no
special talent
(one can simply
farm out design
and manufacture),
but a truly
effective
inexpensive
product earns my
special respect.
Partly for selfish
motives (just
because one sells
high-end audio
doesnít mean one
can afford to buy
high-end audio)
but also because
passionate music
lovers donít
always have high
incomes. Iíve
always gained more
satisfaction in
offering a tightly
budgeted music
enthusiast a truly
musical system at
a price they could
afford than from
relieving the
wannabe carriage
trade of their mad
money.

Gandyís
designs are famous
(or infamous
depending on your
proclivities) for
building
tweak-proof
products.
Audiophilia
nervosa, the
obsessive need to
tweak, is not only
a US
phenomenon--the UK
has long been the
home of the worldís
most ardent
tweakers--many of
our standard
tweaks originated
in the UK. One of
the common
pitfalls of
tweaking is
ruining the
musical and
mechanical
qualities of the
product or, what
amounts to the
same thing, to
become so obsessed
with sonic changes
as to quit
listening to the
music. Both Rega
and Linn have long
warned against
counterproductive
tweaking and have
actively
discouraged the
act, opining that
if the tweaks
really worked they
would be
incorporated into
the product.

There
is much to commend
this view, but
ultimately, if a
tweak creates
overall
improvements in
the abilities of
the product, I donít
have any
philosophical
objections. After
all, no product is
perfect. I have
tried the standard
Rega/Linn tweaks
and, yes, most of
them donít work.
What have worked
are the Ringmat,
the Atmasphere arm
wrap, the Seismic
Sink, and the
Aurios Media
Isolation
bearings. So when
I heard of the
Origin Live
modifications to
the RB 300, I was
initially
skeptical, but
willing to listen
with an open mind.

The
UK has produced
and championed
products that have
consistently
struck me as
musical--from the
BBC-inspired
research into
loudspeakers to
Linnís
insistence that it
"donít mean
a thing, if it ainít
got that
swing."
Simply put, a
complete UK
system, in my
experience, has a
better chance of
producing music
than its US
audiophile
equivalent.
Although I had
some reservations
about some of
Origin Liveís
claims on their
website, their
analysis of the
weaknesses of the
stock RB300 jibed
with mine, so I
gave them a shot.

Origin
Liveís
structural
modification of
the RB300 and the
RB250 involves the
stub at the back
of the arm, which
holds the
counterweight:
this is removed
and replaced with
their own design,
as is the stock
counterweight. In
addition, tonearm
re-wiring is also
offered, as is a
device that allows
for easy VTA
setting. Since
none of my tables
had the clearance
necessary for the
VTA adjustor, I
sent one of my
RB300ís off to
England for a
complete re-wire
and their
structural
modification.
Turnaround from
door-to-door was
just shy of 2
weeks, most of
which was
transient time
through the mails.

I
reinstalled the OL
RB300 on my Linn
LP12 and was
pleased to find
that the OL RB300
and the Linn were
now dancing
together, where
previously the
stock Rega arm was
a little
lead-footed. This
pleased me to no
end, because for
$330 I now had a
simpatico match
for the Linn and
no longer had to
spend $2500 or
more for one of
the "killer
arms".
Sonically the OL
tracked dynamic
and transient
changes more
accurately than
the stock arm and
this was
noticeable and
welcome all across
the frequency
band. Bass
instruments were
clearer and more
articulate--they
no longer mumbled.
The fabled Linn
ability to portray
tonality in the
bass, (more than
just rhythm) was
manifest in
greater force. Not
only did the sense
of rhythm improve,
which was
particularly
welcome on the
polyrhythmic music
I listen to, but
timbre and pitch
also became
clearer,
presenting greater
differentiation
between different
instruments
playing in similar
frequency ranges.
Rock bass and
drums were heard
as separate
entities,
contributing to
the beat of the
music. This
particular boogyiní
fool was well
served. This gain
also applied to
jazz, where
rhythmic
virtuosity was
immediate and
accessible. In
classical music
the double basses
were clearer,
better inflected
and more readily
separated from the
cellos, which in
turn were
harmonically
richer and more
realistic in
timbre.

The
midrange and high
frequencies
improved in the
same way, offering
increased
naturalness,
sweetness and
resolution. I
spent one
memorable
listening session
just listening to
the cymbal work of
Elvin Jones, Art
Blakey, and Chico
Hamilton--and
being rewarded
with deep insight
into their
respective
artistry and
style.

Now
the stock RB300
arm was no slouch
in these aspects
of reproduction,
but always struck
me as a bit
dynamically
limited in the
bass and extreme
highs--not enough
to capsize the
music, but
significantly
limited compared
to the best arms.
And though its
rhythmic abilities
are quite good, it
can at times
become rigid in
its articulation
and remains
somewhat military
when the rhythm
needs to ebb and
flow. In addition,
the upper midrange
would exhibit a
modicum of glare
with some
cartridges.

The
OL RB300
eliminated most of
my objections to
the stock armís
limitations,
greatly improving
upon an already
good product. The
OL RB300ís
modifications all
readily translate
into musical
improvements. Mark
Baker recommends
not using the
spring-applied
tracking force of
the RB300,
claiming that it
introduces an
unwanted resonance
in the arm. Now on
the stock arm, I
preferred the
spring tracking
force. However, I
must admit that on
the OL arm,
statically
set-tracking force
(you set the Regaís
dial to 3) proved
far superior and
more neutral. This
tended to allay my
skepticism of OLís
views, still I
pondered their
insistence that
the RB250, the 300ís
cheaper brother
(included on the
Planar 2) was
actually a better
arm when modified.
Considering the
excellence of the
OL RB300ís sonic
and musical
performance, this
was an intriguing
claim. "Hmm,
itís better and
itís cheaper?
This Iíve got to
try,"so I
ordered one.

Meanwhile
back at the ranch,
Regaís motor
upgrade for the
Planar 3 became
available, the
first improvement
on the Planar 3
turntable in 25
years. Considering
the conservative
nature of Gandyís
designs, I
suspected that
this wouldnít
just be a cheap
minor tweak, but a
wholesale
improvement. Since
I was going to use
my 10-year-old
Planar 3 as the
test mule,
installing the new
motor seemed
logical. The new
motor attaches via
an adhesive
directly to the
tableís plinth,
thereby
eliminating the
old motorís belt
suspension and the
primary weakness
of the Planar 3:
the occasional
tendency to speed
variation,
particularly on
long-held notes.
Cost is $155 plus
any labor for
installation. If
you can solder and
unsolder 4 leads
and align the
motor, itís a
quick DIY job.

"Both
the stereo
illusion and the
musical
performance on
classical music
with the OL
RB250 is mighty
convincing and
orienting,
requiring very
little willing
"suspension
of
disbelief"
to accept the
illusion as a
reasonable
facsimile of
reality. This is
as welcome as it
is rare."

Iíve
listened to enough
motor upgrades and
power supply
improvements on
other tables to
know that the
improvement can be
substantial and
musically
significant, but
even with these
expectations, the
improvement in the
Planar 3 was
marked and
welcome. Dynamic
range, rhythm,
phrasing, pulse.
timbre, and
stereoscopy
improved,
increasing the
excitement and
emotion of the
music, almost, but
not quite,
approaching the
capabilities of my
old pre-Valhalla
Linn. A listen
with a Lyra Clavis
Da Capo cartridge
into Herron
electronics,
Belles amp, and
Audio Physic
Avanti speakers
was revelatory.
The
Lilliputian-priced
table and arm was
producing genuine
music through its
more
breathtakingly
priced brethren
and offering the
most enjoyable
experience Iíve
had with this
cartridge and
these speakers.
Impressive.

The
stock Planar 3 has
always outdone its
competition in
conveying subtlety
and communicating
the logic and
quality of the
playing, but the
new motor
increased the
subtlety and
expanded the tableís
retrieval of
lower-level detail
and micro-dynamics
in a major way, as
well as increasing
its large signal
dynamics and
resolution. The
effect was like
removing a
compressor from
the system--the
music flowed and
moved much more
like live music
does. This was a
definite
across-the-board
upgrade.

I
listened to the OL
RB250 and OL RB300
arms on the
upgraded Rega 3
with a variety of
cartridges. First
up was the Sumiko
Blue Point
Special, not only
for its price and
frequent matching
with the Rega arm,
but also because
itís somewhat
controversial in
its sonics, i.e.,
capable of
sounding bright
and edgy depending
on the system.
With the stock
RB300, the sound
was indeed bright
and hard,
especially on
sudden dynamic
increases and
climaxes. The OL
RB300 was a
revelation, the
harshness was gone
and the subtleties
of the cartridge
began to emerge.
As good as this
was, the OL RB250
was even better:
smoother, sweeter,
and with more
natural detail and
timbre, but still
a bit light in the
bass. Moving to
Linn LP12 revealed
that I was now
hearing the
limitations of the
cartridge: its
ultimate lack of
the finest
resolution,
somewhat gray
tonal colors, and
rather light low
bass. Also
revealed was that
the capabilities
of the OL RB250
arm are far beyond
the Planar 3ís.
To really hear all
of this armís
capabilities, a
better turntable
is necessary.

I
repeated this
sequence with the
addition of the
Aurios Media
Isolation Bearings
and the results
were duplicated,
except the degree
of difference was
now enormous. I
then listened to
the Grado
Signature Jr, The
Goldring Eroica
LX, the Grado
Signature TLZ-V,
and the Grado
Reference Sonata
following this
sequence of arms,
tables, and
isolation systems.
The OL RB250 on
Aurios MIBs
consistently
produced the most
natural, clearest,
and most musical
reproduction.

The
difference between
the OL RB300 and
OL RB250 is quite
marked, and most
obvious on
well-recorded
acoustic and
classical music.
The 250 eliminates
a slight metallic
coloration of the
300. Violins sound
sweeter, more
organic and closer
to live, as do
cellos and double
basses, their
harmonics and
richness of tone
are more in
evidence. The OL
RB300 can sound a
tad more exciting
on pop and jazz,
but close
listening and
comparison to what
instruments sound
like live will
reveal that the
addition
liveliness is
coloration and
indeed the result
of resonance. A
slight
electronic-sounding
sheen rides on top
of transients and
harmonics,
particularly in
the upper midrange
and high
frequencies. This
can get annoying
over time.
Whatever the cause
of this coloration
(Mark Baker of OL
attributes it in
part to the
resonance of the
tracking weight
spring, the
bearing support
and the material
of the arm support
of the RB300) it
is a flaw. Once
its absence from
the OL RB250 is
noted, going back
to the OL RB300 is
hard. The
superiority of the
OL RB250 over the
OL RB300 lies in
its truth of
timbre, nuance and
subtlety--an
overall
naturalness, not
to mention its
considerably more
convincing stereo
effects. I donít
normally subscribe
to the audiophile
values of enhanced
stereoscopy as
absolute
indicators of
improvement,
unless the musical
communication and
naturalness is
also improved.
Imaging, depth,
placement and
resolution of
soundstage
minutiae are,
after all,
adjuncts of the
musical experience
and supplementary
to it. This
dichotomy is
perhaps
flawed--true
higher resolution
should enhance
imaging effects as
well as musical
values--but thereís
no point in
gaining a better
sense of where an
instrument is if
you canít tell
what itís
playing. Both the
stereo illusion
and the musical
performance on
classical music
with the OL RB250
is mighty
convincing and
orienting,
requiring very
little willing
"suspension
of disbelief"
to accept the
illusion as a
reasonable
facsimile of
reality. This is
as welcome as it
is rare.

While
the increase in
low level
resolution and
detail most
striking, the
clarity gained in
crescendos and
tuttis is
magnificent, the
OL RB250
controlled dynamic
shadings and
maintained clarity
far better than
the OL RB300, and,
of course, the
stock Rega arms.
The overall
musical and sonic
performance of the
Origin Live RB250
is simply
astounding.
Considering its
sub-$500 price,
the only
appropriate
reaction is to
yell,
"Eureka!"
Running naked down
the street is
optional.

The
OL RB250 has been
touted as equaling
the capabilities
of the
"superarms"--the
$2500 and up arms
that have become
the darlings of
the audiophile
world. How does it
stack up against
these Goliaths?
System context and
personal
preference are, of
course, crucial,
but frankly, I donít
care. For the
price of a
superarm, one can
buy the OL RB250,
an excellent phono
cartridge, a phono
stage, a set of
Aurios Bearings,
an Origin Live
turntable kit (my
next review), the
Disc Doctor
record/stylus-care
products and even
50 or so used LPs.
The stock Rega
RB300 has been
long been rated
one of the best
bargains in audio.
The Origin Live
modification of
the RB250, which
sells for only $50
more in the US,
appears to be the
new giant-killer.